ID de tableau:: 1293
The Crucifixion La Crucifixion 1390-96
Galleria degli Uffizi, Florence 1390-96 L-arcade des Bureaux, Florence Italian Early Renaissance Painter, ca.1345-1396
ID de tableau:: 2727
The Crucifixion La Crucifixion 1456-59
Musee du Louvre, Paris 1456-59 Musée du Louvre, Paris Italian
1431-1506
Andrea Mantegna Locations
ID de tableau:: 10760
The Crucifixion La Crucifixion 1400, tempera and gold on wood transferred to canvas, Metropolitan Museum of Art, New York 1400, la détrempe et l-or sur le boistransféré au canevas, le Musée Métropolitain d-Art, New York German Gothic Era Painter, active ca.1400]
ID de tableau:: 19750
The Crucifixion La Crucifixion Tempera on panel
Galleria degli Uffizi, Florence. La Détrempe sur lambrise Galleria degli Uffizi, Florence. Italian, Approx. 1459-1539
ID de tableau:: 27434
The crucifixion Lacrucifixion mk56
oil on panel,the reverse stamped with the brand of the Antwerp panelmaker s Guild,and a panel maker s mark
mk56 pétrole sur le panneau, l~inverse a timbré avec la marque de l~Association de s de panelmaker d~Anvers, et une marque de s de fabricant de panneau
ID de tableau:: 29706
The Crucifixion La Crucifixion mk67
Tempera on panel
23 1/4x30 5/16in
Uffizi,Gallery
mk67 Détrempe sur le panneau 23 1/4x30 5/16in Uffizi, la Galerie Italian Early Renaissance Painter, ca.1345-1396
ID de tableau:: 29780
The Crucifixion La Crucifixion mk67
Tempera on panel
44 1/16x35 7/16in
Uffizi,Gallery
mk67 Détrempe sur le panneau 44 1/16x 35 7/16in Uffizi, la Galerie Italian Painter, ca.1460-1539
ID de tableau:: 29916
The Crucifixion La Crucifixion mk67
Oil on panel
22 7/16x18 1/2in
Uffizi,Gallery
mk67 Pétrole sur le panneau 22 7/16x18 1/2in Uffizi, la Galerie
ID de tableau:: 31728
The Crucifixion La Crucifixion mk76
Date unknown
Tempera on panel
14 3/4x16 3/16in
mk76 Date Détrempe inconnue sur le panneau 14 3/4x16 3/16in Italian Early Renaissance Painter, ca.1422-1492
ID de tableau:: 38148
The Crucifixion La Crucifixion mk29
Tempera on panel
37.5x41.1cm
mk29 Détrempe sur lambrise 37.5x41.1cm Italian Early Renaissance Painter, ca.1422-1492
ID de tableau:: 40288
The Crucifixion La Crucifixion mk156
1503
Oil on pine panel
138x99cm
mk156 1503 Huilent sur le panneau de pin 138x99cm b. 1472, Kronach, d. 1553, Weimar
ID de tableau:: 40377
The Crucifixion La Crucifixion mk156
1562
Oil on panel
315x177cm
mk156 1562 Huilent sur le panneau 315x177cm Italian
c1510-1592
Jacopo Bassano Gallery
ID de tableau:: 41331
The Crucifixion La Crucifixion mk161
Oil on canvas
61x40
mk161 Pétrole sur le canevas 61x40 1588-1629
Dutch Hendrick Terbrugghen Galleries
ID de tableau:: 41797
The Crucifixion La Crucifixion mk165
National Museum of History and Ethnography of Svanetia
mk165 Musée National d~Histoire et l~Ethnographie de Svanetia
ID de tableau:: 41861
The Crucifixion La Crucifixion mk165
c.1500
Egg tempera on lime tree panel
85x52cm
mk165 c. 1500 détrempe d~Oeuf sur 85x52cm de panneau d~arbre de chaux
b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 42451
The Crucifixion La Crucifixion mk168
1507
115x71mm
mk168 1507 115x71mm b.May 21, 1471, Imperial Free City of N??rnberg [Germany]
d.April 6, 1528, N??rnberg
ID de tableau:: 62336
The Crucifixion 1596-1600 Oil on canvas, 312 x 169 cm Museo del Prado, Madrid Christ on the Cross, at the moment of expiration, with the Virgin and Saint John, and at the foot of the Cross, the Magdalene. Probably originally above the Annunciation, in the retable of the Colegio of Do?a Mar?a. This painting and the Annunciation are the two widest of the series. Already, in Santo Domingo el Antiguo, the artist had sensibly related together in composition the two central paintings of the high altar, the Assumption and Trinity. Again, there is this compositional relationship of the two paintings, but there is also something more in this bringing together of the two so diverse yet intimately related themes of the Virgin's reception of the Holy Ghost, and Christ's giving up of the Holy Ghost. One subject represents one of the Joys of the Virgin, and the other incorporates one of Her Griefs. Each painting is divided horizontally in three. The figure of Christ of the Expiration is a continuation upwards of the central zone of the Annunciation with the Flames and the Dove; the figure of the Archangel Gabriel has its counterpart in the figure of Saint John; and the Virgin of Joy appears above as the Virgin of Grief. This painting of the Crucifixion is one of the great interpretations of the subject in painting and almost inevitably brings to mind two other great Crucifixions, Gr?newald's of the Isenheim Altar and Giotto's of the Arena Chapel. El Greco has introduced more of those symbols embodying spiritual emotions: the clamouring angels with outstretched arms encircling the Body of Christ - strangely recalling Giotto's painting - and the remarkable figure of the angel at the foot of the Cross. Author: GRECO, El Title: The Crucifixion , 1551-1600 , Spanish Form: painting , religious Greek-born Spanish Mannerist Painter, 1541-1614
ID de tableau:: 63715
The Crucifixion 1523-24 Oil on wood Kunsthalle, KarlsruheArtist:GR?NEWALD, Matthias Title: The Crucifixion (detail) Painted in 1501-1550 , German - - painting : religious German Northern Renaissance Painter, ca.1470-1528
(c. 1475 -1555/1556) was a Dutch painter of portraits and religious subjects, though his most famous creation was the "West Indies Landscape".
Although little is known of him, Mostaert was born and lived in Haarlem for most of his life. He worked as portraitist for Margaret of Austria, Regent of the Netherlands.
Much of his work was destroyed in the great fire of Haarlem in 1576, and some paintings once attributed to him are now attributed to Adriaen Isenbrant.
Mostaert was born in or about 1475 in Haarlem, Netherlands, to a famous noble family. Said to be handsome, eloquent and polite, Mostaert honed his craft under the guidance of Jacob van Haarlem, who may have actually been the anonymous "Master of the Brunswick Diptych". He is also said to be linked to the early Haarlem School of Painting. Mostaert's name first appeared in city records in 1498, the year he married and bought a house in his birthplace. He is also mentioned in Haarlem archives from 1527 to 1554. In 1500 Mostaert was commissioned to paint the shutters for a receptacle housing the relics of Saint Bavo in the Groote Kerk, Haarlem. From this date he began to be listed in the records of the Haarlem Guild of St. Luke, and continued to be frequently listed until 1549. He became deacon of the painters' guild in 1507, and again in 1543 and 1544.
His earliest works are noticeably influenced by Geertgen tot Sint Jans, an earlier Haarlem artist. Some believed that Mostaert was actually apprenticed to tot Sint Jans but it is doubtful that the artist had any apprentices or workshop assistants during his career. From tot Sint Jans, Mostaert adopted a refined style and thoughtful compositions for his works, as well as the stiff, angular look of his figures.
St. ChristopherBetween 1510 and 1516 Mostaert developed a delicate style where his doll-like figures inhabited bright, blue-skied landscapes, as for example in his "Adoration of the Magi" (c. 1510-15). His refined brushwork is precise, with an almost religious attention to detail. Also of note is the landscape, which demonstrates his leanings towards more romantic views with expansive hills. During the 1520s Mostaert was also influenced by Joachim Patinir's take on landscapes. Mostaert's "St. Christopher", a painting with a landscape that features a river receding into an expansive and hilly background, was once even attributed to Patinir.
Mostaert's portrait work of this earlier period includes a piece entitled "Portrait of Abel van den Coulster" (c. 1500-10), in which an elegant, thin-faced man is situated in equally elegant surroundings. Mostaert was known for copying original portraits for some of his courtly commissions but, as is the case with the "Portrait of Abel", he also painted figures from life and added aristocratic touches. He was known for presenting his portrait sitters in three-quarter-length and placing their hands on cushions.
ID de tableau:: 86160
The Crucifixion Date ca. 1530
Medium : Oil on panel
Dimensions 114.6 x 74.6 cm
cjr (c. 1475 -1555/1556) was a Dutch painter of portraits and religious subjects, though his most famous creation was the "West Indies Landscape".
Although little is known of him, Mostaert was born and lived in Haarlem for most of his life. He worked as portraitist for Margaret of Austria, Regent of the Netherlands.
Much of his work was destroyed in the great fire of Haarlem in 1576, and some paintings once attributed to him are now attributed to Adriaen Isenbrant.
Mostaert was born in or about 1475 in Haarlem, Netherlands, to a famous noble family. Said to be handsome, eloquent and polite, Mostaert honed his craft under the guidance of Jacob van Haarlem, who may have actually been the anonymous "Master of the Brunswick Diptych". He is also said to be linked to the early Haarlem School of Painting. Mostaert's name first appeared in city records in 1498, the year he married and bought a house in his birthplace. He is also mentioned in Haarlem archives from 1527 to 1554. In 1500 Mostaert was commissioned to paint the shutters for a receptacle housing the relics of Saint Bavo in the Groote Kerk, Haarlem. From this date he began to be listed in the records of the Haarlem Guild of St. Luke, and continued to be frequently listed until 1549. He became deacon of the painters' guild in 1507, and again in 1543 and 1544.
His earliest works are noticeably influenced by Geertgen tot Sint Jans, an earlier Haarlem artist. Some believed that Mostaert was actually apprenticed to tot Sint Jans but it is doubtful that the artist had any apprentices or workshop assistants during his career. From tot Sint Jans, Mostaert adopted a refined style and thoughtful compositions for his works, as well as the stiff, angular look of his figures.
St. ChristopherBetween 1510 and 1516 Mostaert developed a delicate style where his doll-like figures inhabited bright, blue-skied landscapes, as for example in his "Adoration of the Magi" (c. 1510-15). His refined brushwork is precise, with an almost religious attention to detail. Also of note is the landscape, which demonstrates his leanings towards more romantic views with expansive hills. During the 1520s Mostaert was also influenced by Joachim Patinir's take on landscapes. Mostaert's "St. Christopher", a painting with a landscape that features a river receding into an expansive and hilly background, was once even attributed to Patinir.
Mostaert's portrait work of this earlier period includes a piece entitled "Portrait of Abel van den Coulster" (c. 1500-10), in which an elegant, thin-faced man is situated in equally elegant surroundings. Mostaert was known for copying original portraits for some of his courtly commissions but, as is the case with the "Portrait of Abel", he also painted figures from life and added aristocratic touches. He was known for presenting his portrait sitters in three-quarter-length and placing their hands on cushions.
ID de tableau:: 86597
The Crucifixion Date 1450s
Medium tempera and Oil on wood
Dimensions Height: 103 cm (40.6 in). Width: 67 cm (26.4 in).
cjr Italian, active 1445-1484
Andrea Solari (also Solario) (1460 in Milano - 1524) was an Italian Renaissance painter. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th Century Siennese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo.
ID de tableau:: 89091
The Crucifixion 1503(1503)
Medium oil on wood
cyf Andrea Solari (also Solario) (1460 in Milano - 1524) was an Italian Renaissance painter. He was initially named Andre del Gobbo, but more confusingly as Andrea del Bartolo a name shared with two other Italian painters, the 14th Century Siennese Andrea di Bartolo, and the 15th Century Florentine Andrea di Bartolo.
ID de tableau:: 95739
The Crucifixion 16th century
Medium oil on canvas
Dimensions 194 x 136.5 cm (76.4 x 53.7 in)
cyf Italian
c1510-1592
Jacopo Bassano Gallery
